成人快手

While pretty much everything Motown touched in the sixties turned to gold, there were exceptions. Chris Clark, the first white female singer to sign to the label, was a particular favourite of Berry Gordy's, but had no real success in spite of some cracking recordings - check out the dark and doomy Love's Gone Bad. The jazzy Barbara McNair cut the northern favourite You're Gonna Love My Baby, but it sold so badly that copies are extremely rare, and now change hands for hundreds of pounds. Then there were the "singing school teachers" the Lewis Sisters, whose terrific You Need Me contained Phil Spector-esque amounts of echo; the unfortunately named Henry Lumpkin who released three flop singles in the early sixties; and Bradford's own Kiki Dee cut a whole album for Tamla Motown in 1969 between a lengthy stint at Fontana and her Elton John-inspired rise to fame in the seventies.

also released an album on the back of their minor double-sided American hit Darling Baby c/w Put Yourself In My Place (the later was covered with aplomb in Britain by Jan Panter on Pye). The follow-up was Heaven Must Have Sent You, originally written by Holland-Dozier-Holland for the , which reached no.50 in the States but did nothing in the UK. It may have lacked the fast-forward inventiveness of You Can't Hurry Love or You Keep Me Hanging On, the Supremes' biggest hits of '66, but it was beautiful in its simplicity. H-D-H must have been fond of it, as they chose Heaven Must Have Sent You as the title of their Grammy-nominated retrospective in 2005.

I'd play the Elgins' original to someone curious who had never heard of Motown - its foundational mixture of joy, melancholy, a keening vocal and an irresistible pulse makes it, for me, the ultimate Motown 45.